Sag Distributor`s Assumption Agreement

Happy mourning! It`s a horrible market. A film makes $200,000 GROSS at the box offices, but the cast has already paid that amount into P&A. Before they even think about receiving fees or recovering their overheads, they have to pay $9,000 in money they haven`t even earned. And if it is the producer who is on the line for this and not the distributor, they are in an even more unfavorable position in the waterfall of the resonance! I`m surprised that independent films are made in the United States, let alone distributed! However, I would say that an independent film is necessarily independent of union conventions. I have no doubt that Equity and BECTU would lick each other`s lips with joy if they had any hope that they would be able to impose similar agreements. They wouldn`t cry because they`ve lost most of the ultra-low-budget films in the UK and the entrepreneurial culture among the new filmmakers they create, since they`re already known to be against these kinds of films. Paddy and Daniel; Everything can be okay as long as the distributor takes care of the residual materials, but small distributors will try to burn you every time you shoot. The big problem is that they simply changed the default agreement for the ULB agreement. I can see SAG`s problems with the studios. Given their « accounting methods, » a movie can make $300 million in profits, but studios say they`re still in the red. So SAG said, go fuck you.

Raw residues are taken. A position that is quite understandable. There are a lot of fakes with SAG of the pov actors and the POV of the producer. You do not understand this new paradigm. They are used to television and large feature film productions. And for these things, the treaty works widely. It`s the same with the WGA. Most of the members are tv show writers. And for them, the WGA contract works well.

It doesn`t work well for feature film writers. Daniel, you`re right. Even if you distribute the film yourself and pour a load into P and A, it won`t be taken into account. You still have to pay on a crude basis. But the good news is that you don`t have to pay leftovers for the initial operation. So if you show it in a theater, you`re fine. On the other hand, if you sell your movie to HBO, you pay from a dollar. Anything that is NOT a theater. With each download, with each sale of DVDs, etc., residues enter. I worked a lot for a distributor called International Releasing Corporation. The guy who ran it had an excellent reputation for collecting the distribution contract (IRC was concluded when Sandy retired. .

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